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Bloomfield loved to create ‘shapes’ in his solos using bends such as this.
The first bend is let down to A giving a sixth to fifth (B to A) movement. The next bend is more ambiguous, as it’s not sure whether it’s a semitone or tone (F# to E, or F to E).
F# against G7 is a challenging sound if isolated, but in the blues context (especially when bent slightly flat, as it is here) it kind of works.